buen...aca dejo esta nota q encontre en shidoobee...esta en ingles...pero buen..algo hay..si alguien se toma el tiempo necesario pa traducirla (debo confesar q nisiquiera lei 2 palabras d la nota..ademas mi ingles es excelente pero hasta ahi...no pudo traducir textos con facilidad..)
aca esta el articulo
Rock Royalty - Stones Article From Billboard.com
August 07, 2005
Rock Royalty
The Stones Have Not Had A No. 1 Album Since 1981. Will 'A Bigger Bang' Give Them Back The Crown?
BY MELINDA NEWMAN
Keith Richards remembers a seminal moment in June 2004 when he and Mick Jagger started working on the new Rolling Stones album.
At the time, drummer Charlie Watts was going through cancer treatment and the prognosis was unclear.
"There's suddenly Mick and I looking at each other and going, 'Possibly we're the only two left of the originals,' " Richards says. "[But] you don't talk about that shit, you know?"
Instead, Jagger and Richards got busy.
"I go, 'Mick, you're on drums and I'll double on bass," Richards says, in his first interview about the new project. "In a way, we had to strip it down."
But Watts' treatment was successful, and he and guitarist Ron Wood reunited with Richards and Jagger at the latter's house in France to start recording "A Bigger Bang." The new set, the Stones' first studio album since 1997's "Bridges to Babylon," is due Sept. 6 in North America on Virgin and a day earlier in the rest of the world.
"There was a point, I'm sure, where Mick wanted to kick us out," Richards says. "But as I said to Mick, 'Listen, once upon a time, we cut a record in the South of France in my house, and it's called "Exile on Main Street," and now it's your turn.' "
No one would dare try to hold up "A Bigger Bang" to what is considered one of the greatest rock'n'roll records of all time. Still, executives at Virgin and parent company EMI believe the group has created its strongest album in years.
"It feels so real and so authentic," says Matt Serletic, chairman/CEO of Virgin Records U.S. "With this one, they've really revitalized themselves."
Jagger, calling from tour rehearsals in Toronto, says the spirited play between him and Richards and switching up instruments helped bring a renewed energy to the album's creation.
"I was playing drums and all that sort of stuff I usually never do and that was fun," he says. "Happily for the fans, my drums never made it on the record apart from one or two little hits that were saved. Keith and I were just having a laugh with a lot of it."
And whether it was due to Watts' illness or some magical force, Jagger and Richards' often legendarily fractious relationship seemed a little less so with this album. "The vibe is a lot better," Richards says. "Mick and I are looking at each other and going, 'Oh, come on. I'm not going to argue about this.' There are too many pluses for an odd minus to get in the way. Maybe it's called growing up."
The Stones' last few albums have certainly provided strong enough sales. EMI says "Bridges to Babylon" has sold 3.5 million-4 million copies worldwide, including 1.16 million units in the United States. The 2002 greatest-hits collection "Forty Licks" has sold 7 million, including 2.48 million stateside. (U.S. sales are from Nielsen SoundScan.) Still, there is a consensus among fans, retailers and radio programmers that the Stones have not made an album in recent years that stands alongside the band's classic works.
"Bridges" found the band partnering with—in addition to primary producer Don Was—such producers of the moment as the Dust Brothers and Danny Saber, with the album featuring smatterings of such contemporary flavors as electronica and rap.
By contrast, the 16-track "A Bigger Bang" retains the stripped-down tone of the Stones' earliest albums. Was, who produced with Jagger and Richards, believes it is the group's sparest album since "Some Girls."
Highlights include the grinding, guitar-driven, classic Stones romp "Rough Justice," the harmonica-drenched, bluesy "Back of My Hand" and the country-shaded "Take Me Down Slowly."
Lyrically, tinges of regret are tempered with bravado; heartache is mixed with humor. Throughout, there is an emotional core that is easy to relate to, as opposed to blathering about what a pain it is when the private plane is late.
"It can be annoying when the wrong one comes," Jagger jokes, "but I'm not going to write a song about it. There's a lot of personal stuff [on the album], but it's leavened with a sense of humor and odd rhymes to keep it from getting too serious."
Many of the tracks feature just Jagger, Richards and Watts. Apart from Wood, the only other musicians on the album are longtime Stones associates Darryl Jones (bass) and Chuck Leavell (keyboards).
"There's no hiding place if there's only three of you in the room," Jagger says. Or as Richards puts it, the album is "raw Stones."
Was, who has worked with the Stones for 13 years, says, "It was clear from the first day of recording that the Rolling Stones—the band rather than the individuals who comprise it—came into focus on this album."
GIMME AIRPLAY
The task before EMI is how to take the top touring band of all time and create the same pandemonium that exists around their concerts for their album releases.
"That's the question we've been asking ourselves," EMI Music senior VP of global marketing Matthieu Lauriot-Prevost says.
An essential part of the plan, of course, includes getting significant support from radio—something that has often been supplanted by a curiosity factor, with the band's single dropped shortly thereafter.
"Being the biggest touring band in the world means very little when you are looking for sustained radio support," says Tony Wadsworth, chairman/CEO of EMI Music U.K. & Ireland. "You need to have the song, and we believe that on this album we have the songs that will appeal to radio programmers."
Bill Weston, PD of rock radio station WMMR in Philadelphia, would like nothing better. "It would have to be a really awful album for us not to play it," he admits. But Weston says that for a Stones song to get into heavy rotation on his mainstream/active rock hybrid station, it will need to be "either something incredibly relevant, i.e., Bruce Springsteen's 'The Rising,' or something that's uptempo: lots of Keith's guitars and Mick strutting around having fun, but that doesn't make him sound like a 60-year-old going after 17-year-old chicks."
To appeal to as many U.S. formats as possible, Virgin is releasing several tracks.
"Rough Justice" went to rock formats July 22. As is usual with a new Stones track, "Rough Justice" received a strong welcome from heritage rock stations. It debuted at No. 10 on the Heritage Rock chart in the July 29 issue of Billboard Radio Monitor based on only three days of airplay. It will be followed at rock stations the first week of August by "Back of My Hand," which is also going to college and public radio stations.
Triple-A received both cuts as well as the midtempo track "Streets of Love," which will also be serviced to rock and adult contemporary formats. A video will be shot for "Streets of Love." The song, Serletic says, was picked in part to build on the Stones' younger, female fans, many of whom first met the band through "Forty Licks."
Virgin U.S. executive VP of marketing Randy Miller says Virgin is counting on programmers to give the Stones a shot. "They make their programming decisions on what's hot and current for the day, but, hopefully, a lot of them will hear the quality in these tracks," he says.
Listening parties, underwritten by one of the tour's secondary sponsors, Effen Vodka, will be held the week prior to release in 15 major U.S. markets, as well as worldwide. In the United Kingdom, first single "Streets of Love" is getting a thumbs-up from BBC's Radio One, which selected it as single of the week starting July 25.
TIMING IS ON THEIR SIDE
The Stones have not had a No. 1 album in the United States since 1981's "Tattoo You," although "Bridges" hit No. 3 and "Forty Licks" debuted at No. 2.
Virgin would like to return the Stones to the top of the heap. "They deserve to have a No. 1 album," Miller says.
Virgin could be aided by fairly light competition the week of release, as well as blowback from the sold-out Ameriquest-sponsored tour that starts Aug. 21 at Boston's Fenway Park.
"Frankly, we wanted to get the album out before the tour, but getting it this close is a great gift," Miller says. Virgin is planning spot TV buys around each tour date.
A national TV advertising campaign with one- and two-minute spots rolls out the middle of August and will feature up to five songs from the album. "If fans hear the depth of this album, that will send the message that this is a classic Stones album," Miller says.
The initial spot flight will pinpoint the Stones' target audience of males aged 25-54. However, a wider, 30-second spot will roll out later in the campaign.
Miller says the label looked at tying in a presale campaign whereby ticket purchasers could also pre-order the new album, but because the time lag between ticket on-sales and the album's release was more than four months, the plan was scotched. "We thought it would be a disservice to people who forgot they bought it when they ordered their tickets," Miller says.
Mike Fratt, buyer for the Omaha, Neb.-based chain Homer's, hopes the Stones will help themselves by pushing the album live. "When they go out on tour, they [should] play four or five songs on it, instead of just one. I think they're capable of putting out a record that both their [old] fans will love and will also turn on new fans. If Dylan and U2 can connect and be viable again, why can't the Stones?"
But Carl Mello, buyer for Brighton, Mass.-based Newbury Comics, does not think the tour push will help. "The people that buy the concert tickets are going to get drunk on the weekend and enjoy the show, but don't really care about a new album by an old band."
Regardless of how the record fares, fans will have their pick of Stones releases this fall. EMI is running a standard catalog promotion in conjunction with the release of the $18.98-priced "A Bigger Bang."
In November, EMI will release a rarities disc featuring B-sides and songs from albums that have gone in and out of print. The collection will be sold through traditional retail and Starbucks.
Also tentatively planned for the holidays will be a special edition of "A Bigger Bang." "The content will come from the band and it will hopefully include extra tracks, remixes, video content, Web links and ringtunes," Miller says. The special edition will be available as a CD and DVD or a DualDisc.
Even department store chain Bloomingdale's is in on the act. Starting Sept. 10, the men's fashion departments will feature Rolling Stones music and videos, while selling limited-edition Rolling Stones merchandise and the new CD.
Because of the tour, the Stones' promotional availability is limited. Therefore, Lauriot-Prevost says the 48 EMI companies that will release the record worldwide are taking advantage of any opportunity to expose the music.
In June, EMI brought in retailers from across Europe, Japan and Australia for a listening party in London.
EMI is bringing in top media from each territory to Toronto for face time with the band during rehearsals. "We're also trying to do as many generic interviews as we can to send all over the world," he says. "For example, we know we won't be able to give time to Chile and Taiwan."
The Stones' top sales markets are the United States, the United Kingdom, Germany, Canada and France, says Lauriot-Prevost, who called Billboard from Tokyo as he was preparing to fire up the Japanese company about the release.
The question remains: Will all the activity drive a high chart debut and sustained interest in the project through the holidays and beyond?
For his part, Jagger admits, "I like hit albums, hit singles, hit anythings."
But mainly, he says, he just wants the album to get a shot. "You just want people to hear what you've done. We're pretty excited about this record, we think there's really good stuff on it."
Richards agrees, but adds, "I mean, I'm not looking for numero uno. It's not like that anymore. Been there, done that." ••••
Additional reporting by Keith Caulfield and Michael Libby in Los Angeles.
